The resistance to black-and-white is huge, in the way that you have to sell the film. It's difficult to distribute around the world.
I started as a black-and-white teenage photographer, and I'm still there decades after. In some ways, the genre is almost gone. I am thinking of true, stubborn, lifetime black-and-white photographers, as opposed to black-and-white as a photographic commodity.
I do not look at the world in terms of black and white - and I find people who do rather scary. I think it's all shades of grey.
Security should not be a black and white thing.
In a culture defined by shades of gray, I think the absolute black and white choices in dark young adult novels are incredibly satisfying for readers.
Colonialism has a bad reputation in the modern context, but Colonial Africa was a far better place for both black and white before the colonists gave up.
where I have seen good I shall speak of it with pleasure, and where I have seen the reverse, I shall try to be silent; for a book is meant to give pleasure, and pain that is inflicted in black and white lasts for ever.
The great thing about getting older is that you become more mellow. Things aren't as black and white, and you become much more tolerant. You can see the good in things much more easily rather than getting enraged as you used to do when you were young.
There's something great about terrible westerns. They look like gay dancers and bad, overwrought dialogue and overacting, black and white sped up horses.
I feel you see every crack and bruise with black and white [pictiures] and color distracts usually from the honesty.
Motion pictures are just beginning to live up to their true potential of being immersive experience - going from beyond black and white flickering images to fully immersive 3D color high-definition. You don't even know where the real world starts and the fake world begins. And yet, none of that's going to matter unless the story and the emotions that they allow us to become invested in are something that we can recognize. Pixar is able to do this in ways that almost defies speculation.
Making a movie is like a chess game. It's about constantly changing patterns, adapting to new things. It's not just black and white, as you know.
A lot of my books deal with very controversial issues that most people often don't want to talk about, issues that, in my country, are more likely to get put under the carpet than get discussed. And when you talk about moral conundrums, about shades of gray, what you're doing is asking the people who want the world to be black and white to realize instead that maybe it's all right if it isn't. I know you'll learn something picking up my books, but my goal as a writer is not to teach you but to make you ask more questions.
Black and white are the most ravishing colors of all in film.
Today, as we have seen, fascism and communism are discredited, but are replaced by a paraphilic consumer culture driven by fantasy, desperately in search of distractions and escalating sensations, and a fundamentalist culture wherein the rigors of a private journey are shunned in favor of an ideology that, at the expense of the paradoxes and complexities of truth, favors one-sided resolutions, black-and-white values, and a privileging of one's own complexes as the norm for others.
It's always intrigued me that amidst the group called slaves there were individuals who were extremely able, who were extremely colorful, who were powerful personalities, who by no means fit the usual images of slaves. They were people who, through their personalities and abilities, were very respected in the community where they lived by both black and white.
My ideal kinda guy, if I was really gonna go there even though he's married, is Mark Wahlberg. To me he's a little black and white, the kinda guy who would understand if I pull my weave out.
Far as I'm concerned, friendship between black and white don't mean that much 'cause it usually ain't on a equal basis. ... Maybe one day whites and blacks can be real friends, but right now the country ain't built that way.
It will be difficult if people can't get past their prejudices; I don't mean Black and White; I mean people automatically assume because a film has a predominantly Black cast, that it is a particular quality of film.
The colors black and white are my uniform, to honor the working class. People like my parents, who were janitors and had to wear a uniform every day. It keeps me grounded.
The novels have done so well because the drawings are abstract, black-and-white. This adds to the universality of the story. "Persepolis" also has dreamlike moments, and the drawings help maintain cohesion and consistency.
A lot of my friends were mostly working in black-and-white-people like Lee Friedlander, Diane Arbus, Garry Winogrand, and others. We would exchange prints with each other, and they were always very supportive of what I was doing. What each of us was doing photographically was entirely different, but we were basically coming from the same place, sort of like a club.
Black-and-white photography, which I was doing in the very early days, was essentially called art photography and usually consisted of landscapes by people like Ansel Adams and Edward Weston. But photographs by people like Adams didn't interest me.
Looking at a black and white photograph, you are already looking at a strange world.
I'm not so in with the prescriptive avant-garde agenda. I can do that sort of thing, but I feel that I'm still interested enough in song structure. When I look at a lyric on the page, the lyric is alive to me, looking like soldiers in a field. I can move it around, and it's very black-and-white.
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